'c\ urr

Winter/Spring 2011 Season • 132nd Annual Season

General Information Event Program Book Thursday, April 7 through Saturday, April 23, 2011 On-site ticket offices at performance venues open 90 minutes before each performance. Septeto Nacional de Cuba ; Children of all ages are welcome at "Ignacio Pineiro" UMS Family and Youth Performances. April 7, 8:00 pm ' ' " . : . Children under the age of 3 will not be Hill Auditorium • admitted to regular, full length UMS performances. All children must be able to sit quietly in their own seats Takacs Quartet without disturbing other patrons. Friday, April 8, 8:00 pm • ,'••-.•.•• - . -•.-.' Children unable to do so, along with Rackham Auditorium the adult accompanying them, will be asked by an usher to leave the audito­ rium. Please use discretion in choosing Tetzlaff Quartet 13 to bring a child. Saturday, April 9, 8:00 pm Rackham Auditorium • • ,•' Remember, everyone must have a ticket, regardless of age. Tony Alien's Secret Agent 19 Saturday, April 16, 8:00 pm . While in the Auditorium Hill Auditorium Starting Time Every attempt is made to begin concerts on time. Latecomers Songs and Waltzes of Love , 23 are asked to wait in the lobby until Saturday, April 23, 8:00 pm > ' '' ' ' ; seated by ushers at a predetermined time in the program. Hill Auditorium

Cameras and recording equipment are prohibited in the auditorium.

If you have a question, ask your usher. They are here to help.

Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance- free.

In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return- it to your usher when leaving the venue. i March 9 | Scharoun Ensemble Berlin Winter 2011 10-13 i Druid and Atlantic Theater Company: ; Martin McDonagh's The Cripple of i January \ Inishmaan 2 | NT Live: Hamlet 19 ! Detroit Symphony Orchestra with the 14-15 i Laurie Anderson's Delusion I UMS Choral Union: Fleming, soprano 16 i Renee | Mahler's Symphony No.-8 Canceled 21-22; GrupoCorpo 24 Bach Collegium Japan: Shenandoah 23 i Joanne Bach's Mass in b minor 27 ; Sequentia 30- Apr3 Propeller: Shakespeare's Richard III and 30 ; Baby Loves Salsa Family Performances The Comedy of Errors 30 | NT Live: FELA! ; April I February 2 i St. Petersburg Philharmonic with 1 I The Cleveland Orchestra with I Nikolai Lugansky, piano . i Pierre-Laurent Aimard, piano 6 i NT Live: Frankenstein at Lincoln Center Orchestra with 2 | Jazz 7 ; Septeto Nacional de Ignacio Piheiro | Wynton Marsalis Canceled i de Cuba 4 | New Century Chamber Orchestra with 8 I Takacs Quartet: Schubert Concert 3 i Nadja Salerno-Sonnenberg, violin 9 i Tetzlaff Quartet 10 i Blues at the Crossroads: The Robert 16 i Tony Alien's Afrobeat Tour Johnson Centennial Concert | 23 I Liebeslieder Waltzes (Songs and 11 i Rafat Blechacz, piano i Waltzes of Love) 12 i Vijay lyerTrio and Rudresh Mahanthappa's i Apex i May 13 I Concertante with Rafat Blechacz, piano 14 i Breakin' Curfew 18-19; Merce Cunningham Dance Company: ! The Legacy Tour July 20 i Takacs Quartet: Schubert Concert 2 17 NT Live: The Cherry Orchard 20 I NT Live: King Lear 23 ! Kodo

UMS Educational and Community Events Through Saturday, April 23, 2011 All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.615.4077 or [email protected]. ^

Organization continue the dancing at a post- Tony Alien's Afrobeat Tour concert after party! $5 cover; complimentary admission with a ticket stub from the concert. After Party! Cash bar. Saturday, April 16, post-performance Elks Lodge, 220 Sunset Road A collaboration with the United African Community Organization and Dark Matter. Following Tony Alien's performance, UMS, Dark Matter, and the United African Community urns presents Septeto National de Cuba "Ignacio Piiieiro"

Eugenio Rodriguez Rodriguez, Director and Lead Vocals Enrique A. Collazo Collazo, Guitar and Vocals Dagoberto Sacerio Oliva, Guitar and Vocals Agustin Someillan Garcia, Trumpet Raul Acea Rivera, Bass Crispin Diaz Hernandez, Maracas and Vocals Francisco David Oropesa Fernandez, Bongos

Program Thursday Evening, April 7, 2011 at 8:00 Hill Auditorium • Ann Arbor

Tonight's program will be announced from the stage by the artists and will be performed without intermission.

63rd Performance of the Media partnership is provided by WEMU 89.1 FM, Michigan Chronicle, and 132nd Annual Season Metro Times. Septeto Nadonal de Cuba appears by arrangement with Opus 3 Artists, New York, UMS Global: NY, and is managed by Global Arts Management, Canada. Americas & Americans

The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS 10/11 Septeto Nacional de Cuba

or more than 80 years, Septeto Nacional 1932, George Gershwin traveled to Cuba and de Cuba has reigned supreme as the world's heard the music of Septeto Nacional. He and F foremost champion and protector of Cuban Pineiro became friends and the influence of the son, the musical heartbeat of Cuba. The seven- latter's "Echale Salsita" can even be heard in piece band was founded in 1927 by wildly prolific Gershwin's own Cuban Overture. As the genre Cuban bassist Ignacio Pineiro Martfnez. Since then, gained popularity, songs like "Esas no son the group has seen an array of Cuban musical Cubanas" and "Suavecito" filled the dance and superstars pass through its ranks, including music halls on both sides of the Atlantic, laying a Abelardo Barroso, Miguelito Valdes, Bienvenido foundation for what is today known as salsa. Granda, and Carlos Embale. In 2003, Septeto Nacional de Cuba enjoyed

"...the greatest living real band in the world." —Ry Cooder

Today, Eugenio Rodriguez "Raspa" and Frank a triumphal return to the elite, being nominated Oropesa "El Matador" carry Pinero's musical torch for a Grammy Award in the category "Traditional as leaders of the group, keeping the original Tropical Music." Since then, the group has acoustic Rumba sound while also incorporating appeared in over 35 countries and five continents, elements of contemporary harmonization, wider including the US, Mexico, Algeria, Canada, rhythmic concepts, and an exceptional repertoire Colombia, Denmark, Venezuela, England, Norway, that includes the most important Cuban hits, many Switzerland, France, Ireland, Spain, Germany, of which were written by Pineiro himself. Cuban Turkey, Russia, and the United Arab Emirates. son combines elements of Spanish candon and The septet is currently recognized as Patrimonio guitar music with African rhythms and percussion Nacional de la Cultura Cubana (a national treasure and gained immense popularity around the turn of Cuban culture) for the quality of its dedication of the century, continuing through the 1940s. The to the roots of Cuban son. In 2009, the Septeto history of the genre is closely tied to Ignacio Pineiro, made history with its highly acclaimed return to who originally founded the Septeto Nacional. the US—its first American tour in 76 years. The group made its first recording in 1928 and simultaneously embarked on its international UMS welcomes Septeto Nacional de Cuba as it career. In subsequent years, the ensemble's makes its UMS debut tonight. ' ' " . membership went through various changes as other son bands heightened the competition. For Septeto Nacional de Cuba After the Cuban Revolution of 1959, the group was reinvigorated. Some of its original members Ricardo Roberto Oropesa Fernandez, Cultural Promoter returned and the Septeto recorded several IPs. In Daniel Angel Daniel Pajare, Audio Technician COME ALL

TICKETS (734) 764-2538 University Musical Society would like to thank Gilbert Omenn and Martha Darling for their sponsorship of this evening's performance.

& Ami ROSenthal'S dream is to ensure that live arts performances for K-12 students will continue at UMS for generations to come.

Prue and Ami Rosenthal believe it is vital for You can make a gift to preserve for future children to have the opportunity to experience generations the part of UMS that is most live performances. To back up that belief, they important to you. created an endowment fund to support the annual UMS Youth Performance Series, where Contact Marnie Reid at 734-647-1178 or more than 25,000 area children see live perfor­ marnreid

Program Friday Evening, April 8, 2011 at 8:00 Rackham Auditorium • Ann Arbor

Franz Schubert Piano Quintet in A Major, D. 667 Allegro vivace Andante Scherzo: Presto—Trio Theme and Variations: Andantino—Allegretto Finale: Allegro guisto

Mr. Kahane, Mr. Feeney

INTERMISSION

Schubert String Quintet in C Major, D. 956 Allegro ma non troppo Adagio Scherzo: Presto—Trio: Andante sostenuto Allegretto

Mr. Katz •'""""

64th Performance of the Tonight's performance is sponsored by Gilbert Omenn and Martha Darling. 132nd Annual Season Takacs Quartet appears by arrangement with Seldy Cramer Artists and records for Hyperion and Decca/London Records. Mr. Kahane appears by arrangement with Linda Marder at C/M Artists, New York, NY. Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and The photographing are Associate Artists at the South Bank Centre, London. -• •;••"- ; or sound and video recording of this concert Please visit www.takacsquartet.com for further information. ~ • or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS Takacs Quartet

Now that you're in your seat...

chubert's two magnificent quintets represent two facets of his unique musical personality that could almost be called opposites. The "Trout" Quintet is a sunny and carefree work S of a vital and energetic 22-year-old, confident in his enormous gifts; the work brims with joie de vivre and, while it contains technical challenges for the performers, is conceptually and emotionally unproblematic. The C-Major Quintet, on the other hand, was written nine years later by a Schubert who had been marked by illness and who had looked into a deep abyss after which life could never be the same again. (He died soon after completing the piece.) The "Two- Cello Quintet" is far more complex, with richer harmonies and greater dramatic contrasts, than Schubert's earlier music. Here the 31-year-old composer truly demonstrates the height of his creative powers.

Piano Quintet in A Major, D. 667, This quintet is an amiable composition, "Trout" (1819) redolent with all the delights—natural, social, and musical—that Schubert enjoyed on his vacation. Born January 31, 1797'in Himmelpfortgrund, Clive Brown writes that it reveals Schubert in near (now part of the city) his genial mood: "He certainly did not intend to Died November 19, 1828 in Vienna impress listeners with subtleties of compositional technique, but he succeeded magnificently in charming and captivating them. Despite occasional Snapshot of History... deeper moments, four of the five movements In 1819: seem primarily to reflect the carefree atmosphere • Spain cedes Florida to the United States of his holiday in Upper ; only the second • Percy Bysshe Shelley writes Ode to the West movement sustains a more introspective mood." Wind Although the score was not published until • Arthur Schopenhauer writes The World as Will after the composer's death (any performances and Representation necessarily being prepared from the manuscript), • Walt Whitman is born the publication announcement included the • Queen Victoria is born observation that connoisseurs had already declared it a masterpiece. Since its publication, it has become one of Schubert's most famous compositions, Franz Schubert spent his summer vacation in 1819 exceeded perhaps only by a handful of songs and in the town of Steyr in Upper Austria, with his the "Unfinished" Symphony. It is certainly one of friends Albert Stadler and Johann Michael Vogl his most refreshing and delightful scores. (both of whom were originally from that region). The inspiration for the commission of this work Before long, Stadler and Vogl had introduced the may have been Hummel's Septet, but the nearest young composer to Sylvester Paumgartner, a local model is perhaps Beethoven's popular Septet, businessman and amateur cellist whose salon was which also has five movements. This structure one of the town's principal centers of musical aligns the Beethoven and Schubert works with activity. Paumgartner suggested to the young the "serenade" tradition, which relied more often composer that he write a piano quintet, one that on unusual combinations of available instruments might include a set of variations on Schubert's (Schubert's Quintet includes a double bass) and a song "Die Forelle" (The Trout), and that would be friendlier outlook than most "serious" chamber modeled on Hummel's Septet in d minor (or more compositions. correctly, on Artaria's piano-quintet arrangement The tonic pedal with piano triplets that opens of the Hummel score). Schubert began work on the first movement is a call to attention, and the quintet while still in Steyr, and finished it later precedes the actual first theme. The theme itself that fall in Vienna. doesn't call for elaboration, and much of the UMS Takacs Quartet

exposition consists of variations on the motifs, but (repeating the first line to create a simple binary the triplet figure persists through the movement, form), making it the basis for five variations of functioning as a unifying device. increasing elaborateness and exploratory verve. The quintet as a whole is based on the notion The first three variations move the melody into of song-derived instrumentality, and doesn't inner voices, while the fourth and fifth explore feel confined to classical notions of form or distant and dramatic harmonic realms. At development. This becomes especially clear when the end, a return to the opening melody also Schubert begins the first-movement recapitulation signals for the first time a recollection of the in the sub-dominant rather than the expected piano accompaniment from the song, with its tonic. By transposing the entire exposition down a characteristic rippling, watery figures. fifth for the recapitulation, the second theme then The finale is simple and lighthearted, with reappears in the tonic without need for any re- abundant "Magyar" rhythms and dance-like composition. Occasionally criticized by pedants as syncopations. Again, Schubert effects a wholesale a "lazy" approach to sonata form—or the possible transposition of materials so that the secondary result of composing in haste—the movement is themes come back in tonic at the conclusion. so abundantly cheerful that this transgression of Exotic figures dominate much of the movement, traditional classical procedure succeeds merely in until the bubbling triplets that had announced reinforcing its easy-going and carefree demeanor. the opening of the first movement come back to The second movement, like the first, states and unify and frame the entire quintet. varies the melodic materials with little "working out" of motifs. It is in a binary form that roughly Program note by Luke Howard. approximates a sonata-allegro form without development section (sometimes referred to as "slow-movement sonata form"). Melodies String Quintet in C Major, D. 956 (1828) emerge gently from the violin, cello, and piano, Schubert with the cello's countermelodies prefiguring some . V, Sa£K!?

qually at home at the keyboard or on the podium, Jeffrey Kahane has established an E international reputation as a truly versatile artist, recognized by audiences around the world for his mastery of a diverse repertoire. Since making his debut in 1983, Mr. Kahane has given recitals in many of the nation's major music centers. He appears as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Rotterdam Philharmonic, Philharmonic, and the Leipzig Gewandhaus, and is also a popular figure at summer festivals. Mr. Kahane is equally well-known for his collaborations with artists and chamber ensembles such as Yo-Yo Ma, Dawn Upshaw, Joshua Bell, Thomas Quasthoff, and the Takacs Quartet Emerson and Takacs Quartets. are a hallmark not only of this work, but of his late Mr. Kahane made his conducting debut at style in general. The first theme in this sonata-form the in 1988. Since then movement, a jaunty contrapuntal passage reworked he has guest conducted orchestras including from an earlier Fantasia for violin and piano, quickly the New York and Los Angeles Philharmonics, gives way to the famous second theme, a glorious Philadelphia Orchestra, Saint Paul Chamber cello duet in E-flat that is the emotional center of Orchestra, Academy of St. Martin's in the Fields, the movement. and the Chicago, Detroit, St. Louis, Baltimore, Jack Westrup once noted that this "robust and Indianapolis, Dallas, and New World Symphonies. courageous" String Quintet is "illuminated by shafts Currently in his 14th season as Music Director of of tenderness that no-one, having once heard them, the Los Angeles Chamber Orchestra, Mr. Kahane can ever forget." Undoubtedly he was referring to concluded his tenure as Music Director of the the second movement "Adagio," one of the most Colorado Symphony in June 2010 and was Music sublime moments in the entire chamber repertoire. Its Director of the Santa Rosa Symphony for ten haunting yet gentle opening remains imprinted on the seasons. A native of Los Angeles and a graduate listener long after the sounds have died away. Despite of the San Francisco Conservatory of Music, Mr. its seeming simplicity, such music is extraordinarily Kahane's early piano studies were with Howard difficult to write. The slow pace lays everything open Weisel and Jakob Gimpel. Mr. Kahane resides in to view, but in so doing, only demonstrates Schubert's Santa Rosa with his wife, Martha. They have two perfect control of his resources. children: Gabriel, a composer, pianist, and singer/ The third movement "Scherzo" and "Trio" is songwriter and Annie, a dancer and poet. almost a mirror image of the preceding "Adagio." In each, the central sections both juxtapose contrasting expressive worlds. The "Scherzo" is s cellist for 26 years of the Cleveland heavy and physical, while the "Trio"—normally Quartet, Paul Katz appeared in more than the section where Schubert allows a moment of A2,500 concerts on four continents and spiritual release, a lilting dance, or lyrical point made 70 recordings, which earned 11 Grammy of repose—is wistful and questioning, in both Award nominations and two Grammy Awards. The harmonic language and emotional disposition. members of the CQ were the first classical artists In the Finale, Schubert shows that his humor is to appear on the Grammy Awards telecast. In not all lost in pathos. The dance begins in c minor, addition to his studies with Bernard Greenhouse, but another cello duet soon establishes the tonic he was a student of Gregor Piatigorsky, Janos C Major, and before long the sounds of country Starker, and Leonard Rose. In September 2001, fiddles and droning accordions enliven the dance Mr. Katz joined the faculty of the New England without any hint of irony. Conservatory of Music (NEC) where he teaches UMS Takacs Quartet

cello and mentors a training program for young the Takacs Quartet performs 90 concerts a year professional string quartets. In 2001, he was worldwide, throughout Europe as well as in awarded Chamber Music America's highest honor, Australia, New Zealand, Japan, and South Korea. the National Service Award, given for a lifetime of The 10/11 season includes a Bartok Cycle in Sydney, distinguished service to the field of chamber music. and a three-concert series focusing on Schubert in The American String Teachers Association named New York (92nd Street Y) and at the University Mr. Katz their "Artist-Teacher 2003," and Indiana Musical Society in Ann Arbor. The series features University awarded him its coveted Chevalier du the New York premiere of a new work composed ViolonceUe for distinguished achievements and for the Quartet by Daniel Kellogg, based on the contributions to the world of cello playing and slow movement theme of Schubert's "Death and teaching. In conjunction with Boston's WGBH the Maiden" Quartet. and NEC, he recently launched cellobello.com, an The Quartet's award-winning recordings include international teaching and learning site for cellists, the complete Beethoven Cycle on the Decca label. with video lessons in several languages. In 2005, the Late Beethoven Quartets won "Disc of the Year" and the Chamber Award from BBC Music Magazine, a Gramophone Award, and a ohn Feeney is principal bassist of the Japanese Record Academy Award. Their recordings Orchestra of St. Luke's, The American Classical of the early and middle Beethoven quartets J Orchestra, The Grand Tour Orchestra, and collected a Grammy Award, another Gramophone appears as principal bassist for Lafayette Award, a Chamber Music of America Award, and and Sinfonia New York. Mr. Feeney won First Prize two further awards from the Japanese Recording in the Concert Artists Guild and Zimmerman- Academy. Of their performances and recordings of Mingus International Competitions and was a the Late Quartets, the Cleveland Plain Dealer wrote medalist/prize winner in the Geneva and Isle of " The Takacs might play this repertoire better than Man Competitions. His numerous performances of any quartet of the past or present." double bass concerti with international orchestras In 2006, the Takacs Quartet made their first includes the 2007 world premiere of Paquito recording for Hyperion Records of Schubert's D'Rivera's Concerto for Clarinet/Sax and Double String Quartets Nos. 13 and 14. A disc featuring Bass and, in 2010, the modern world premiere of Brahms's Piano Quintet with Stephen Hough the Domenico Dragonetti concerto in D of which was released to great acclaim in November 2007 The New York Times described as "a skilled and and was subsequently nominated for a Grammy passionate performance, the gut strings on his Award. A recording of Brahms's Op. 51 and Op. instrument producing an earthy sound...bravura 67 Quartets was released in Fall 2008 and a disc solo passages that feature rapid passagework and featuring the Schumann Piano Quintet with Marc- double-stops, which Mr. Feeney played with flair." Andre Hamelin was released in 2009. The complete He has recorded for all the major record labels and Haydn "Apponyi" Quartets, Op. 71 and 74, will be has released two prize-winning world premiere released in early 2011. recordings of the music of Dragonetti and Joseph The Quartet is known for innovative Haydn. programming. In 2007, with Academy Award- winning actor Philip Seymour Hoffman, the ecognized as one of the world's great Quartet performed Everyman in Carnegie Hall, ensembles, the Takacs Quartet plays with a inspired by the Philip Roth novel. The group R unique blend of drama, warmth, and humor, collaborates regularly with the Hungarian folk combining four distinct musical personalities to ensemble Muzsikas, performing a program that bring fresh insights to the repertoire. explores the folk sources of Bartok's music. The Commenting on their latest Schubert recording for Quartet performed a music and poetry program on Hyperion, Gramophone noted; "The Takacs have a 14-city US tour with the poet Robert Pinsky. the ability to make you believe that there's no At the University of Colorado, the Takacs other possible way the music should go, and the Quartet has helped to develop a string program strength to overturn preconceptions that comes with a special emphasis on chamber music, only with the greatest performers." where students work in a nurturing environment Based in Boulder at the University of Colorado, designed to help them develop their artistry. The University Musical Society would like to thank Anne and Paul Glendon

for their sponsorship of this evening's performance.

Quartet's commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West in Santa Barbara. UMS Archives The Quartet is a Visiting Quartet at the Guildhall his evening's concert marks the School of Music and Drama in London. Takacs Quartet's 15th appearance The Takacs Quartet was formed in 1975 at the under UMS auspices. The Quartet Academy T in Budapest by Gabor Takacs- made its UMS debut in February 1984 and Nagy, Karoly Schranz, Gabor Ormai, and Andras last appeared at UMS earlier this season in Fejer, while all four were students. It first received February at Rackham Auditorium for the international attention in 1977, winning First Prize second of three concerts in this season's and the Critics' Prize at the International String Schubert cycle. Quartet Competition in Evian, France. The Quartet Tonight's concert marks cellist Paul Katz's also won the Gold Medal at the 1978 Portsmouth fourth appearance under UMS auspices. Mr. and Bordeaux Competitions, and First Prizes at the Katz made his UMS debut in November 1974 Budapest International String Quartet Competition with the Cleveland Quartet and last appeared in 1978 and the Bratislava Competition in 1981. under UMS auspices in March 1995. The Quartet made its North American debut tour Bassist John Feeney makes his second UMS in 1982. Violinist Edward Dusinberre joined the appearance this evening, following his UMS Quartet in 1993 and violist Roger Tapping in 1995. debut as a member of the Orchestra of St. Violist Geraldine Walther replaced Mr. Tapping in Luke's Chamber Ensemble in October 1997. 2005. In 2001, the Takacs Quartet was awarded UMS welcomes pianist Jeffrey Kahane the Order of Merit of the Knight's Cross of the who makes his UMS debut this evening. Republic of Hungary. urns presents Tetzlaff Quartet

Christian Tetzlaff, Violin Elisabeth Kufferath, Violin Hanna Weinmeister, Viola Tanja Tetzlaff, Ce//o

Program Saturday Evening, April 9, 2011 at 8:00 Rackham Auditorium • Ann Arbor

Franz Joseph Haydn String Quartet in g minor. Op. 20, No. 3 Allegro con spirito Minuet: Allegretto Poco adagio Finale: Allegro di molto

Felix Mendelssohn String Quartet in a minor. Op. 13 Adagio. Allegro vivace Adagio non lento Intermezzo: Allegretto con moto Presto

NTERMISSION

Jean Sibelius String Quartet in d minor. Op. 56 Andante—Allegro molto moderate Vivace Adagio di molto . Allegretto ma pesante • ', Allegro—Piu allegro

65th Performance of the Tonight's performance is sponsored by Anne and Paul Glendon. 132nd Annual Season Media partnership is provided by WGTE 91.3 FM. The Tetzlaff Quartet records for CAvi Music and appears by arrangement with 48th Annual C/M Artists New York. Chamber Arts Series

The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS Tetzlaff Quartet

Now that you're in your seat...

n entire evening in the minor mode promises high drama, some turmoil, and a great deal of passion. In the 18th century, such feelings were the exception rather than the rule; the Aoverwhelming majority of the music was written in major keys, with the minor reserved for rare occasions of exceptional emotional intensity. Later composers used the minor mode much more frequently, making it a preferred channel for their most "intimate voices."

String Quartet in g minor. Op. 20, No. 3 con spirito" of Op. 20, No. 3 is already a full- (1772) fledged classical sonata form in the usual three Franz Joseph Haydn sections, with a fairly substantial development Born March 31, 1732 in Rohrau, Lower Austria section between the exposition and recapitulation. Died May 31, 1809 in Vienna Yet the organization of these sections is not quite the same as we would find in later Haydn: the inner Snapshot of History... boundaries of the form are not as clear-cut. There In 1772: is no real second theme to contrast with the first • Samuel Taylor Coleridge is born one: instead, the opening theme (which has an • In Boston, Phillis Wheatley proves in court that asymmetrical, seven-measure structure) dissolves an African woman can indeed write poetry into short motives and figurations whose highly • Goethe starts work on the Urfaust—the unpredictable succession results in a string of beginning of a lifelong involvement with the separate (but motivically related) musical events. Faust topic The asymmetry continues in the second- • Completion of the Encydopedie in France movement minuet, which would be quite • Daniel Rutherford isolates nitrogen for the impossible to dance to. It is a rather dark movement first time (a type sometimes referred to a minuetto serio, serious minuet) whose phrases are not four but five measures in length. In addition, the first phrase The six quartets published as Op. 20 mark Haydn's contains a dissonance so harsh that later editors first maturity as a quartet composer. The cycle has believed it was a mistake and changed it; however, long been linked to Haydn's so-called Sturm und there is no doubt that Haydn really wanted an Drang (storm and stress) period—a period in the F-natural in the first violin against an F-sharp in early 1770s during which he wrote more work in the second! The serio mood continues even in the a dark, dramatic mood than at any other time in central Trio section in spite of the switch to a major his life. One sign of that dramatic quality is the key. frequent use of the minor mode, which helps The slow movement is much more than a generate a more intense harmonic idiom and respite, which may be its function in other quartets; express feelings that anticipate the Romantic era. here Haydn gives us an extended instrumental aria, Op. 20 is the only set of Haydn quartets to with a development section that is no less complex contain not just one but two quartets in a minor than that of the "Allegro." The first violin and key. What is more, both are in the minor key ail the cello alternate as leaders, yet there is also an the way through, without a modulation to the important viola solo, of which there are not many major before the end as we would find in many of in the early quartets. Haydn's later works. Here as elsewhere, the minor The last movement resembles the first in that mode goes hand in hand with more complicated in both the music follows an utterly unpredictable harmonies and many surprising rhythmic and course with asymmetrical phrases, sudden metric effects. interruptions, and unusual modulations. At this In 1772, what we now know as "Viennese point, these devices produce not only storm Classical style" was still in the early stages of its and stress" but, as Hans Keller noted in his book evolution. A movement like the opening Allegro The Great Haydn Quartets, also introduce "an UMS Tetzlaff Quartet element of playfulness...profound and pure wit dramatic, ending on a declamatory formula now gains the upper hand." Yet the ending is straight out of an operatic recitative, delivered more mysterious than humorous with its subdued with great passion by the first violin. The second pianissimo, although, somewhat like the famous movement begins like a "song without words"— "Joke" at the end of the E-flat Major Quartet (Op. to borrow the name Mendelssohn would give 33, No. 2), it plays with our expectations of closure later to his celebrated series of short piano pieces. and the last note catches us completely off guard. Yet in the quartet, songfulress soon yields to an intense contrapuntal deve! opment that erupts in an animated middle section. A meter change String Quartet in a minor. Op. 13 (1827) (from 3/4 to 4/4) accompanies a change in mood from introspection to exuberant self-expression. Born February 3, 1809 in , Germany In symmetrical fashion, the contrapuntal music Died November 4, 1847 in Leipzig returns, followed by a recapitulation of the "song without words." The movement thus ends in the Snapshot of History... same lyrical manner in which it began. In 1827: The third movement is an "intermezzo "opening • Beethoven dies on March 26 with a gentle melody in a comfortable "Allegretto • Alessandro Manzoni's novel The Betrothed, a con moto" tempo that is soon changed to a much landmark of Italian literature, is published faster "Allegro di molto" for a playful episode in • Slavery is abolished in New York State contrapuntal style. This episode fulfills the function • Eugene Delacroix paints one of his greatest of a "trio" or middle section, but unlike most trios, canvases, The Death of Sardanapalus it is longer and more substantial than the opening • Friedrich Wohler isolates aluminum for the "main" section. That main section eventually first time returns, but the material of the "trio" doesn't quite go away; both themes are heard together in the movement's coda. Few composers in the 1820s were more familiar The finale begins with the same dramatic with Beethoven's recent works than was recitative with which the first movement ended. Mendelssohn. At a time when Hummel, dementi, This time it leads into an "aria"—a melodic theme and Spohr were at the height of their fame, not of great emotional intensity. As the movement everyone recognized that Beethoven dwarfed all continues, several elements of previous movements of them; yet in Mendelssohn's eyes, Beethoven reappear: first the "Beethovenian" passage reigned supreme as the most important composer from the first movement, then the contrapuntal of the time. The String Quartet in a minor, written idea from the second, and finally (as mentioned the year of Beethoven's death, shows how up- before), the opening of the "Is it true?" motto. to-date the 18-year-old master was. This work Periodically, the recitative style returns as well, makes some unmistakable allusions to Beethoven's momentarily interrupting the melodic flow, which quartet in the same key (Op. 132), published only then continues with even more energy than before, that same year (and written two years earlier). until the arrival of the final "Adagio." The allusion occurs in the "Allegro vivace" section The slow ending and the large number of of the first movement, audibly modeled on the thematic links between the movements are both analogous passage in the Beethoven quartet. highly unusual structural features, which are But Mendelssohn made other allusions in this particularly surprising from a composer whose piece as well, most notably to one of his own style is often (mistakenly) labeled as conservative. works: a short song called Frage (Question). The In fact, Mendelssohn was engaged in some rather question 1st es wahr? (Is it true?) appears in the daring structural experiments here. Op 13 was, "Adagio" introduction to the quartet—reminding incidentally, his first string quartet, even though those familiar with the late Beethoven quartets of it is sometimes referred to as No. 2. (The official the Muss es sein? (Must it be?) motto of Op. 135. No. 1, which was the first to be published, is the This theme frames the entire work, as it reappears E-flat Major work that received the opus number at the very end of the last movement. 12; it was written two years after the present In between, there is, first of all, a fiery and composition.) tempestuous fast movement; its coda is particularly UMS iO/ll Tetzlaff Quartet

String Quartet in d minor. Op. 56 said, a first movement and a "first-and-a-half" "Voces intimae" (1908-09) movement—a very short "Vivace" with no break before it. After the slow movement comes a more Born December 8, 1865 in Hameenlinna, Finland substantial scherzo and a dance finale. Died September 20, 1957 in Jarvenpaa All this sounds more or less like a classical string quartet(exceptforthe "half-movement"), but there Snapshot of History... is little that is classical about the themes and their i In 1909: development. In characteristically Sibelian fashion, • The NAACP (National Association for the the boundaries between thematic areas are blurred Advancement of Colored People) is founded rather than clear-cut. Perhaps not surprisingly, the • 's opera E/ektra is first quartet writing tends to be more "orchestral" than performed chamber-music-like in that the emphasis is less on • Rachmaninoff's Piano Concerto No. 3 is first the independence of the individual voices than on performed block-like textures in which all four voices play the • Jack London's novel Martin Eden is published same rhythms—either simultaneous fast runs or • Louis Bleriot crosses the English Channel by massive chordal sonorities. Statements are often airplane interrupted by general rests where all four voices Si fall silent at the same time, or by startlingly new, and apparently unrelated material. When a composer, known mainly for his orchestral The first movement grows out of a brief music—symphonies and tone poems—turns to unaccompanied dialog between the first violin and the medium of the string quartet to write the the cello, in which commentators have detected only major chamber work of his maturity, he must the influence of Finnish folk music. Traces of folk have a very profound reason to do so. Sibelius music may be found in the other movements as was going through a major personal and artistic well. In the "Adagio," the dance-like motif of the crisis upon reaching his mid-40s. The universally second movement is transformed into a profound celebrated national treasure of the Finns, the lyrical melody. This is expansively developed and recipient of a state pension that allowed him to brought to a searing climax, which then is followed devote himself exclusively to composition, he was by a subdued coda. In the latter, the "intimate growing increasingly uncomfortable in his role as voices"—the three soft chords in an unrelated an icon, and was increasingly dissatisfied with the key—are reiterated, confronting us with the same lush Romanticism of his early works. As he was mystery for a second time. searching for new forms of expression, he naturally Thefourth movement combinesafoot-stomping turned to a genre to which he hadn't contributed dance in heavy accents with a more fluid theme in 20 years, a genre that brought back fond early flowing over an extremely agile accompaniment. memories of playing chamber music as a violinist One element of the first theme—a descending and that, at the same time, was more introspective fifth—later takes on a life of its own, and becomes than symphonic composition could ever be. (Yet, the basis for a whole new section. After a spirited as we shall see, the work shows many signs of the development of all the themes, the movement composer's predominantly orchestral orientation.) ends with a major burst of energy. Should there be any doubts about Sibelius's Tonally and texturally, the finale is perhaps the intentions of writing an emphatically private most diverse movement of the quartet. It proceeds work, the composer dispelled them by the from an exuberant dance-fantasy (with echoes programmatic title Voces intimae (Intimate Voices). of the last movement of Beethoven's Symphony He penciled those words in the score, over three No. 7) to a wild perpetual motion, suddenly striking pianissimo chords in the slow movement interrupted (more interruptions!) by an eerie that seemingly come out of nowhere, in a key passage with tremolos (rapid note repetitions) unrelated to the preceding music. The directness played sul tasto (with the bow on the fingerboard). and immediacy of this gesture were rather new in The dance theme becomes even more excited Sibelius's music. This "Adagio," which occupies when it returns, before the work reaches its highly the central position in the five-movement quartet, dramatic conclusion. is the longest movement and, indeed, the heart of the work. It is preceded by, as Sibelius once Program notes by Peter Laki. UMS.U. Tetzlaff Quartet

Tetzlaff Quartet

he Tetzlaff Quartet have rapidly established a reputation as "one of the world's most UMS Archives Tfascinating chamber ensembles" (Florenz, La Nazione). Discovering a mutual devotion to onight marks violinist Christian chamber music, Christian and Tanja Tetzlaff, Tetzlaff's fourth concert appearance Hanna Weinmeister, and Elisabeth Kufferath Tunder UMS auspices. Mr. Tetzlaff formed their string quartet in 1994. Since then, made his UMS debut in February 2000 in a the four musicians play several chamber music recital of the solo violin works of J.S. Bach evenings every season for which they have received at St. Francis of Assisi Catholic Church. He impressive critical acclaim. most recently appeared as soloist with the TheTetzlaffQuartetfrequently gives concerts not San Francisco Symphony in March 2010 at only in Germany, but also in France, Italy, Belgium, Hill Auditorium under the baton of Maestro Switzerland, Great Britain, and the US. Recently, Michael Tilson Thomas. the quartet has performed at the Auditorium du UMS welcomes the Tetzlaff Quartet who Louvre in , at the Societe Philharmonique make their UMS debut this evening. of Brussels, at Vienna's Musikverein, and at the Concertgebouw Amsterdam. The ensemble is a welcome guest at international festivals including the Berliner Festwochen, Schleswig-Holstein Music Festival, and Bremen Musikfest.Theirfirst recording on the CAvi label (distributed by Independent Allegro Media Group in the US) features works by Schoenberg and Sibelius and was released in September 2010. University Musical Society would like to thank Comerica for its generous sponsorship of tonight's performance. ;

Coming soon...

133rd urns

Visit www.umslobby.org for details!

Brochures will be mailed to subscribers and ticket buyers in May.

UITIS 734.764.2538 \ www.ums.org urns presents Tony Alien's Secret Agent with special guest Amp Fiddler, Keyboards Tony Alien Band

Tony Alien, Drums and Vocals Cesar Anot, Bass Kologbo, Guitar Claude Dibongue, Guitar Albert Leusink, Trumpet Paul Carlon, Tenor Saxophone Dimitri Moderbacher, Baritone Saxophone

Program Saturday Evening, April 16, 2011 at 8:00 Hill Auditorium • Ann Arbor Secret Agent

Tonight's program will be announced from the stage by the artists and will be performed without intermission.

66th Performance of the Tonight's performance is supported by Comerica. 132nd Annual Season Media partnership is provided by WEMU 89.1 FM, Michigan Chronicle, and Ann Arbor's 107one. Special thanks The photographing to the United African Community Organization and Dark Matter for their support of and participation in events surrounding or sound and video tonight's concert. recording of this concert Tony Alien appears by arrangement with Mondo Mundo Agency, LLC. or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS Tony Alien's Secret Agent

rguably the greatest drummer on earth, who with Fela created Afrobeat—the hard driving. Tony Alien is quite simply, the man who James Brown funk-infused, and politically engaged Aput the "beat" into Afrobeat. style which became such a dominant force in Born in Lagos, Nigeria, in 1940, of mixed African music and whose influence continues to Nigerian and Ghanaian parentage, Tony Alien spread today. taught himself to play by listening to records made Tony Alien's own recordings, made since by the American jazz drummers Art Blakey and leaving Fela's band in 1978, are diverse in style and Max Roach. He began working as a professional fascinating fusions of Afrobeat with other styles of musician in 1960, gigging around Lagos and world popular music. His recent work also includes variously playing highlife and jazz. the Good, the Bad & the Queen, a collaboration For 15 years, as drummer and musical director with Damon Albarn, and an album collaboration of Fela Anikulapo Kuti's band Africa 70, Mr. Alien with Jimi Tenor in 2009 which whips up a raw, recorded over 30 albums with Fela Anikulapo Kuti— heavy analogue sound mixing the full range of many considered to be Fela's best works including Alien's Afrobeat repertoire with Tenor's off-kilter Shakara, Zombie, Confusion, and Expensive Shit. brew of dark humor, tongue-in-cheek lyrics, and Currently residing in Paris, Mr. Alien has long tight, firing musicianship. been acknowledged as Africa's finest kit drummer and one of its most influential musicians, the man Tonight's concert marks Tony Alien's UMS debut. "Perhaps the greatest drummer who has ever lived."

—Brian Eno

University Musical Society is grateful to the H. Gardner and Bonnie Ackley Endowment Fund for support of this evening's performance.

UMS thanks all of our patrons, donors, and volunteers who helped make the 2010/11 season a success!

You or your company can help keep southeastern Michigan a vibrant place to live and work by sponsoring a performance next season. Staff will provide concierge service in planning the recognition, and you get the benefit of a tax-deductible contribution.

Call the UMS Development Office at 734.764.8489 for more information. urns presents Songs and Waltzes of Love Sylvia Schwa rtz, Soprano Bernarda Fink, Mezzo-soprano Michael Schade, Tenor Thomas Quasthoff, Bass-baritone

Malcolm Martineau, Piano Justus Zeyen, Piano

Program Saturday Evening, April 23, 2011 at 8:00 Hill Auditorium • Ann Arbor

I Spanische Liebeslieder, Op. 138 Vorspiel (for Piano four-hands) Tief im Herzen trag' ich Pein 0 wie lieblich ist das Madchen Bedeckt mich mit Blumen Flutenreicher Ebro Intermezzo: Nationaltanz (for Piano four-hands) Weh, wie zornig ist das Madchen Hoch, hoch sind die Berge Blaue Augen hat das Madchen Dunkler Lichtglanz, blinder Blick II •.-:..; Liebeslieder-Walzer, Op. 52 ; Rede, Madchen, allzu liebes Am Gesteine rauscht die Flut 0 die Frauen Wie des Abends scheme Rote .. •.-, _• - Die grune Hopfenranke ' Ein kleiner, hubscher Vogel : ; Wohl schon bewandt Wenn so lind dein Auge mir Am Donaustrande, da steht ein Haus 0 wie sanft die Quelle sich Nein, es ist nicht auszukommen • • Schlosser auf! und mache Schlosser Vogelein durchrauscht die Luft Sieh, wie ist die Welle klar .... Nachtigall, sie singt so schon • '" • Ein dunkeler Schacht ist Liebe Nicht wandle, mein Licht Es bebet das Gestrauche .- -'

INTERMISSION UMS 10/11 Songs & Waltzes of Love

Brahms Four Quartets for Four Voices and Piano An die Heimat, Op. 64, No. 1 Der Abend, Op. 64, No. 2 0 schone Nacht, Op. 92, No. 1 ' ••• •"- Abendlied, Op. 92, No. 3

Mr. Zeyen, Piano '• " •' •""' ''''•'" :

IV Brahms Neue Liebeslieder, Op. 65, Nos. 1-15 Verzicht, o Herz, auf Rettung Finstere Schatten der Nacht An jeder Hand die Finger Ihr schwarzen Augen • • Wahre, wahre deinen Sohn Rosen steckt mir an die Mutter Vom Gebirge, Well' auf Well' Weiche Gra'ser im Revier ' ;' Nagen am Herzen Ich kose suB mil der und der > Alles, alles in den Wind Schwarzer Wald, dein Schatten ist so duster! Nein, Geliebter, setze dich - . Flammenauge, dunkles Haar Zum Schluss: Nun, ihr Musen, genug! . ,

Please withhold applause until the end of each set of songs throughout this evening's program.

67th Performance of the Tonight's performance is sponsored by the H. Gardner and Bonnie Ackley 132nd Annual Season Endowment Fund. Media partnership is provided by WGTE 91.3 FM. 132nd Annual The Steinway piano used in this evening's concert is made possible by William and Choral Union Series Mary Palmer and by the Steinway Piano Gallery of Detroit. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's concert. The photographing The artists featured in tonight's program appear by arrangement with C/M Artists or sound and video New York, NY, and Dr. Raab and Dr. Bohm kunstleragentur, GmbH. recording of this concert or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS Songs & Waltzes of Love

Now that you're in your seat...

ausmusik. What a lost treasure is this world of entertainment made at home by educated, talented, inspired, but amateur performers! Tonight's program features this genre of vocal H and piano chamber music exclusively. It is clear that Schumann and Brahms knew their audiences and their customers well. For every 19th-century family—middle or upper-class—music lessons were de rigueur, and a certain level of accomplishment was expected, be it vocal or pianistic. This is not to suggest that the works heard tonight are undemanding or can be tossed off casually, only to emphasize the place communal music-making had in the fabric of domestic life of the time. Without television or radio—not to mention the Internet—reading and music were an evening's chief occupation. As the themes of love, courting, and flirtation predominated, one's singing ability or pianistic fluency increased one's eligibility many times over. Both of tonight's composers were thinking practically, but we are the lucky recipients of these masterful examples of house music, as if only artistic inspiration created them. Tonight, their beauty and sophisticated elegance are brought to life for us by professionals, and as such, one genre has evolved into another; yet as we listen to these charming works, we can easily imagine their origins: the family around the piano, perhaps a would-be suitor among them, eager to impress and curry favor, two pianists sharing a single keyboard, hands grazing each other more than occasionally, increasing the warm gemut/ichkeit of the evening.

Schumann labels the opening movement "Bolero" In 1846, Schumann moved from Leipzig to but only the 3/4 time signature justifies the title. Dresden, seeking a calmer, less eventful, dramatic devoted more than a year to his Spanish life. He was intent on finishing his opera Genoveva Songbook, containing many of the same poems in a peaceful atmosphere and was fascinated which Schumann uses in tonight's Lovesongs, at the time with choral music as well. His fits of but as noted Lieder scholar Eric Sams is forced to melancholia were subsiding, and the succeeding conclude: "The Spanish cloak does not sit well six years proved to be his most productive since on German shoulders." We can hear the vague his year of song in 1840. Two trios, the Fantasy plucking of guitars, enthusiastic dance rhythms, Pieces for clarinet, the Manfred overture, and and in the texts the straightforward passion we pieces for cello and horn flew from his pen in these associate with Mediterranean amorous lyrics, but few years. Early in 1849, Schumann turned to little else which is truly Spanish. French composers Geibel's translations of Spanish poems for the first seem to imitate other cultures far better. Consider time and crafted the Spanish Liederspiel. This first Bizet's Carmen or Lalo's Symphonie Espagnole. work for vocal quartet and piano was successful Nevertheless, Schumann's music—be it truly enough, particularly in Clara's opinion, that by the Spanish or not—is infectious and diverting. This end of the same year, Schumann followed it with opus deserves to be heard more often, whatever the work heard tonight, the Spanish Lovesongs. it intends to evoke. The only change in personnel was the addition of a second pianist to share the single keyboard. The II structure of the opus is interesting: each singer Brahms' involvement with the Schumann family is has a solo (the tenor has two), the pianists have well known. At the time Schumann was composing two solo turns, along with two vocal duets and the Spanish opus, Brahms was vacationing only a finally a quartet with all the participants as a finale. few miles away. He was well aware of the selection Thus there is inherent variety throughout the 10 of vocal quartet and piano four-hand duet which movements. his colleague had selected, and 20 years later he For all our enjoyment, it must be said, however, employed the same forces for his first opus of that no German or Austrian composer seems to Liebeslieder waltzes. While the means are the capture the Spanish idiom very authentically. same, Brahms eschewed evoking a foreign culture, UMS 10/11 Songs & Waltzes of Love

and turned instead to verses by his poet and friend, highly intelligent works, where simple and Georg Daumer. The composer had already penned charming entertainment is not the point. two dozen solo songs to Daumer's poetry with Using only one pianist, this opus can easily be considerable success. considered chamber music with voices instead of Brahms is often maligned for choosing inferior instruments. They are sometimes performed with or overly-sentimental poems as fodder for his choir, but tonight we hear them in their original vocal music. There are very few Brahms songs and intended form—the solo vocal quartet, and using the giants of his day: Heine, Eichendorff, or certainly not adlib! Again, Brahms' poets for these Goethe. But Brahms was adamant: he required quartets are not famous names; without Brahms words which needed music, never those which we would never have heard of them, but the could stand on their own. We can remember that yearning and celebration of the homeland in these Goethe detested Schubert's settings of his poems. texts is clearly captured by the composer. In Daumer's love lyrics, Brahms found the perfect fodder for his lovesong waltzes. These texts have IV an inherent lilt and charm which conjure Viennese Six years after his first set of Liebeslieder waltzes, charm and courtship from the first syllable. Brahms created the second set for the same forces. This first set of Liebeslieder waltzes, composed The first set had been wildly successful with the in 1868-69, are 18 in number, with only two public, so why not deliver another opus? He solos, one each for alto and tenor. As the title turned again to his friend, Daumer, for lyrics for 14 would imply, every number is in 3/4 waltz time, of the 15 pieces in this opus. The piano writing is but Brahms' genius prevents any monotony from far more complex here and the vocal demands far being felt. A similar feat is to be appreciated in more beyond the reach of the average amateur. Sondheim's A Little Night Music, a 20th-century Clearly, we are moving away from the standard piece also entirely in triple meter and yet full of technical demands of Hausmusik, and yet the variety. Variety and contrast can be strategized, warmth and family feeling remain. and to this end Brahms deploys his four voices Brahms' includes far more solo songs in this differently in each lovesong; tempos vary widely, opus than in the first of the lovesongs; of the 15, major and minor modes alternate continually, and no less than four are for soprano, with additionally thus our attention and delight never cease. one each for alto, tenor and baritone. This is a very An interesting side note to the publishing of different sound and arrangement from the first this first set of waltzes was the struggle between set. Brahms and his publisher. Originally, Brahms To conclude this opus, Brahms chooses Goethe stipulated waltzes for four-hand piano duet with uncharacteristically for a final song. Technically not incidental vocal quartet. The vocal parts were to in waltz meter—it is in 9/4—this 1 Bth song speaks be printed in much smaller type, and with a clear of elevated subjects: the muses, God, work, and designation of "ad lib." Thus, people at home life, rather than flirting between the sexes. It is making Hausmusik could simply play the four-hand clearly an epilogue to both sets of waltzes, and piano part or add the voice part if they wished. is in itself no waltz, be it in three or not. The The original edition features the voice parts in tiny seriousness and lofty quality of Goethe's words has print, clearly an option not a necessity. We would here engendered far less charming writing from not think of performing them in such a manner Brahms, and it must be noted that the key of this today, nor would Brahms sanction publishing them final selection is the same key as the opening and without the voice parts. closing of Brahms' . This cannot be an accident. Instead of waltzing out of our presence, Ill the composer becomes serious and has penned a The vocal quartets of Brahms are a completely Thanksgiving anthem to both sets of waltzes, and different genre from the waltzes discussed to creativity itself. above. There are enough quartets to fill five opus numbers, and while they are no less beautiful than Program notes by Martin Katz...... : the waltzes, they are on far more serious subjects, and do not evoke any waltz feeling although they are often in triple meter. These are sophisticated, UMS -u. .:, Songs & Waltzes of Love

ylvia Schwartz is fast becoming one of (DieZauberflote), Sophie (), Zerlina the most exciting lyric sopranos of her (), and Despina (Cos; fan tutte). S generation. On the concert platform, Ms. Schwartz will Ms. Schwartz has appeared at many of the perform recitals with Wolfram Reiger and Malcolm finest opera houses and festivals including Martineau at Schubertiade Schwarzenberg and at Milan, Deutsche Staatsoper Berlin, Vienna State the as part of the Decade by Decade Opera, State Opera, The Bolshoi Theatre, series in addition to her current US tour. Theatre du Chatelet Paris, and the Edinburgh Sylvia Schwartz is a graduate of the Escuela International Festival, Maggio Musicale Florentine, Superior de Canto in Madrid and was a postgraduate Baden Baden Festival, and the Verbier International student at the Hanns Eisler Conservatory in Berlin Festival. under , Thomas Quasthoff, and From 2005, Ms. Schwartz has been a member Julia Varady, where she won a Hezekiah Wardwell- of the ensemble of the Deutsche Staatsoper Stipendium from the Alexander von Humboldt Berlin where her performance highlights have Foundation. included Susanna (Le nozze di Figaro), Pamina (Die Zauberflote), Zerlina (Don Giovanni), Sophie ernarda Fink, daughterof Slovenian parents, (Der Rosenkavalier), Nannetta (), Oscar (Un was born in Buenos Aires, Argentina, and Ballo in Maschera) and Marzelline () with received her vocal and musical education conductors such as , Philippe B at the Institute Superior de Arte del Teatro Colon Jordan, Rene Jacobs, and Fabio Luisi. where she used to perform frequently. Ms. Schwartz is also much in demand on Acclaimed for her musical versatality, Ms. the concert and recital platform and has worked Fink's repertoire ranges from ancient music with pianists such as Wolfram Rieger, Charles through music of the 20th century. She frequently Spencer, and Malcolm Martineau; and with appears with orchestras including the Wiener conductors , Sir Colin Davis, Philharmoniker, Berliner Philharmoniker, Royal Gustavo Dudamel, Patrick Fournillier, Yves Abel, Concertgebouw Orchestra, Symphonieorchester Jean Christophe Spinosi, , and des Bayerischen Rundfunks, London Philharmonic, Christopher Hogwood. Czech Philharmonic, Chamber Orchestra of Europe, Beginning in the 2010/11 season, Ms. Schwartz Staatskapelle Dresden, the Cleveland Orchestra, as is a member of the Vienna State Opera where her well as with Baroque Orchestras under conductors roles are including Susanna (Le nozze di Figaro), as Herbert Blomstedt, Semyon Bychkov, Sir Colin Adina (L'elisir D'amore), Morgana (Aldna), Pamina Davis, Sir John Eliot Gardiner, , , Rene Jacobs, Mariss Jansons, Riccardo Muti, Sir Roger Norrington, Trevor Pinnock, Georges Pretre, Sir , Jukka Pekka Saraste, and Franz Welser-Most. Ms. Fink has appeared to wide critical acclaim in Argentina and at the main opera houses of Europe. Most recently she performed the roles of Cecilio (Ludo Silla) led by Nikolaus Harnoncourt at the Theater an der Wien, Idamante () in a new production of Luc Bondy and Jesus Lopez Cobos at the Teatro Real in Madrid, and Irene (Theodora) under Ivor Bolton at the . She further sang Sesto (La Clemenza di Tito) and Idamante in concert versions under the baton of Rene Jacobs which both were recorded and highly awarded. Ms. Fink regularly appears in recital at the Wiener Musikverein and Konzerthaus, Schubertiade Schwarzenberg, Concertgebouw Sylvia Schwartz UMS iu/11 Songs & Waltzes of Love

ailed as "the world's leading Mozart tenor" German-Canadian Michael Schade H performs in all of the leading Opera houses. His art form embraces a wide repertoire of performances in opera, recital, concert, and recording. His close collaboration with the Vienna Staatsoper continues in the current season. At the Staatsoper Mr. Schade has performed all of the leading Mozart roles; in addition he has performed extensively in the bel canto repertoire. Recent successes for Mr. Schade have included Mozart's Idomeneo as well as Strauss'/Vafae//a and Capriccio with Renee Fleming. Opera reclaimed him in three new productions; his first Prince in Rusalka at Toronto's COC, as Aschenbach in Britten's Death In Venice at the Hamburg Staatsoper, which awarded Mr. Schade's outstanding performance with the Bernarda Fink Rolf-Mares-Prize for an exceptional achievement in a leading role. He was featured in the highly Amsterdam, the Wigmore Hall in London, and in acclaimed production of Thais at the Metropolitan Buenos Aires. In the 2010/11 season she appears Opera with Renee Fleming and . in Kempen, Maribor, and Imola. Furthermore she Mr. Schade returned to the Met in 2010 for Lulu appears with the Hugo Wolf Quartet in Bilbao, under Fabio Luisi and sang his first Des Grieux in Nijmegen, and Antwerp. Manon for Opera Lyra in Ottawa. Among her highlights of the current and the At the Salzburg Festival, Mr. Schade appeared next season are Pergolesi's with the 16 consecutive years in new productions of Mozart's Berliner Barock Solisten in Lucerne, Mendelssohn's La Clemenza di Tito, Purcell's King Arthur, two Elias with in Lucerne, Bremen, and new productions of Mozart's Zauberflote, Haydn's Stockholm (to be recorded for DG), and Mahler's Armida, and Cherubini's Medee. He was appointed Symphony No. 2 with the Symphonieorchester by Jurgen Flimm as the creative director of the des Bayerischen Rundfunks, Bach's Mass in b Salzburg Young Artists Project for 2008, 2009, and minor with Nikolaus Harnoncourt at the Vienna 2011; a yearly program that invites exceptional Musikverein, and in Tokyo, Brahms' Alto Rhapsody singers to study under the guidance of the respective with the Bamberger Symphoniker. responsible person during the festival. Ms. Fink has made numerous highly acclaimed In addition to his opera career, Mr. Schade recordings. Her discography embraces almost 50 performs extensively in concert and recital. releases, many of which have been awarded prizes His immense concert repertoire ranges from such as the Diapason d'Or and the Grammy Award. Bach's Passions to Mahler's von der Erde, in She enjoys a close collaboration with Harmonia numerous concerts with the Vienna and the Berlin Mundi, of which the most recent recordings include Philharmonic Orchestras, the Philadelphia and San Lieder by Schubert with accompanist Gerald Huber, Francisco Orchestras, the Los Angeles and New York Bach Cantatas with the Freiburger Barockorchester Philharmonic Orchestras, the Cleveland Symphony and Lieder by Schumann with accompanist Anthony Orchestra, the Toronto and Montreal Symphony Spiri. Pergolesi's Sfafaaf Mater with the Akademie fur Orchestras, and the Boston Symphony Orchestra Alte Musik Berlin was recently released in fall 2010. under conductors Claudio Abbado, Pierre Boulez, Her next solo recording will be a program with Lieder Semyon Bychkov, Christoph von Dohnanyi, Valery by Slovenian composers and is planned to be released Gergiev, Daniel Harding, Mariss Jansons, James this spring. Levine, Sir Charles Mackerras, Riccardo Muti, Kent In February 2006 Bernarda Fink was awarded Nagano, Peter Oundjan, Sir Simon Rattle, Helmuth the Austrian Honorary Medal for Art and Science Rilling, , Franz Welser-Most, by the Austrian chancelor. and Simone Young. ''.'''' UMS Songs & Waltzes of Love

erman bass-baritoneThomasQuasthoff is recognized as one of the most remarkable G singers of his generation. A frequent guest of both the Berlin and the Orchestras, he appears regularly with the world's leading orchestras under such renowned conductors as Claudio Abbado, Daniel Barenboim, Bernard Haitink, Mariss Jansons, Kurt Masur, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling, Christian Thielemann, and Franz Welser-Most. Mr. Quasthoff's debut in 1995 at the Oregon Bach Festival laid the basis for his highly successful career in the US. Having since returned numerous times for appearances with the most important orchestras and festivals, he regularly appears at New York's Carnegie Hall since his outstanding recital debut there in January 1999. In March 2003 Mr. Quasthoff gave his highly Michael Schade acclaimed opera debut in the role of Don Fernando (Fidelio) with the under Mr. Schade has a close association with Sir Simon Rattle at the Salzburg Easter Festival. Nikolaus Harnoncourt and the Concentus Musicus, His remarkable debut at the Vienna Staatsoper in the also performing under the Maestro with both the role of Amfortas () under Donald Runnicles Berlin and Vienna Philharmonics. Many of these followed in spring 2004. In January 2005 concerts have been released on CD for Sony/ he returned to Vienna in the same role to perform BMG. Endeavours of the current season with the under the baton of Sir Simon Rattle. Maestro include Bach's Mass in b minor at Vienna's Thomas Quasthoff has been Artist in Musikverein and together with Haydn's Schopfung Residence at Vienna's in Japan. Musikverein, Amsterdam Concertgebouw, Carnegie Hall, and The current season also features Mr. Schade Lucerne Festival as well as in Baden-Baden, Hamburg, and performing recitals in Stuttgart, London, Graz, at the London Barbican Centre. , and Schwarzenberg. Engagements of the current season include concerts with A prolific recording artist, Mr. Schade was Mahler Chamber Orchestra and Daniel Harding awarded a Grammy Award in 2002 for Bach's performing Mendelssohn's Elias, a tour with his Sf. Matthew's Passion under Harnoncourt. His new soul/blues/jazz program "Tell It Like It Is," recording of Daphne (Decca) with Renee Fleming a tour with the Camerata Salzburg, as well as was nominated for a Grammy in 2005. Mr. Schade concerts with Freiburg Baroque Orchestra at the has been awarded two Junos: one for Soiree Mozartwoche Salzburg. In recital Mr. Quasthoff Franqaise and for Mozart: Arie e Duetti, both appears in London with Andras Schiff, at the under Maestro Richard Bradshaw (CBC records). Salzburg Festival with Pierre-Laurent Aimard, as For Mr. Schade's Leukimia foundation, he released well as in Prague and Garmisch-Partenkirchen with a recording of Die Schdne Mullerin with Malcolm Charles Spencer. Martineau (CBC Records). This recording was As of 1999 Mr. Quasthoff has an exclusive nominated for a Juno in 2005. recording contract with . In January 2007, Mr. Schade was appointed Three of his CDs have received Grammy Awards: Kammersanger by the Austrian government, the Mahler's Lieder aus des Knaben Wunderhorn first Canadian to receive this honor. Mr. Schade is (together with Anne Sofievon Otter under Claudio the artistic director of the Hapag Lloyd Stella Maris Abbado), orchestrated Schubert Lieder (with the International Vocal Competition and served in this Chamber Orchestra of Europe, also under Claudio position at the Salzburg Young Singer's Project. Abbado), and, in spring 2006, for his Bach Cantatas The Vienna Musikverein named Mr. Schade Artist together with the Berlin Baroque Soloists. His most in Residence with his own subscription series recent recordings are Italian Arias by Joseph Haydn during the 2009/10 season. UMS Songs & Waltzes of Love

Thomas Quasthoff Malcolm Martineau together with the Freiburg Baroque Orchestra and alcolm Martineau was born in "Tell It Like It Is." Edinburgh. He regularly appears with Mr. Quasthoff began his vocal studies with M Sir Thomas Alien, Susan Graham, Simon Professor Charlotte Lehmann and Professor Huber- Keenlyside, Magdalena Kozena, Dame Felicity Contwig (musicology) in Hannover, Germany. His Lott, Thomas Quasthoff, Michael Schade, and national and international music awards include Bryn Terfel. He has presented his own series at St. First Prize in the 1988 ARD International Music Johns Smith Square (complete songs of Debussy Competition Munich. Further prizes include and Poulenc), the Wigmore Hall (a Britten series the Shostakovich in 1996 (Moscow) and the and a French song series) and at the Edinburgh Hamada Trust/Scotsman Festival Prize (Edinburgh Festival (the complete lieder of Hugo Wolf). He International Festival, 1996). The artist held a accompanied in masterclasses at the BrittenPears professorship at the vocal department of the Music School, Aldeburgh, for Dame Joan Sutherland, Academy in Detmold, Germany, since 1996, where Elisabeth Schwarzkopf, Suzanne Danco, and he maintained a vigorous teaching schedule, before lleana Cotrubas. His many recordings include accepting a new position at the Hanns Eisler Music Schubert, Schumann, and English song recitals University in Berlin in the fall of 2004. with Bryn Terfel, Schubert and Strauss recitals with For many years, Mr. Quasthoff has dedicated Simon Keenlyside, recitals with , himself to Lied, and it is his deepest desire to Barbara Bonney and Susan Graham, Magdalena preserve this art form. Therefore he has founded Kozena, and the complete Beethoven Folk Songs a Lied-Competition which started in Berlin in 2009 and the complete Britten Folk Songs. He was and takes place every second year. awarded an honorary doctorate at the Royal Mr. Quasthoff received from the President of the Scottish Academy of Music and Drama in 2004 and German Republic the Order of Merit in 2005. One appointed International Fellow of Accompaniment year later, he was awarded the European Culture in 2009. Price for Music at the Dresden Frauenkirche. In 2009, Thomas Quasthoff received the Gold Medal of the Royal Philharmonic Society in London as well as the Herbert von Karajan Music award by the Baden-Baden Festspielhaus. Further, he was appointed Osterreichischer Kammersanger by the Austrian government. UMS Songs & Waltzes of Love

orn in Kiel, Germany, pianist Justus Zeyen studied in Hannover, Germany, with Karl B Engel and Bernhardt Ebert. Mr. Zeyen has been a well sought-after pianist, giving concerts in Europe, Japan, and the US, as a soloist as well as a pianist for chamber music, and as an accompanist of singers' recitals. He has worked with artists including Juliane Banse, Dorothea Roschmann, Diana Da'mrau, Christiane Iven, , Florian Boesch, Siegfried Lorenz, and Michael Schade, and the choirs of the Bayerischer, Mittel- andSOddeutscherRundfunk. In fall 2010, he toured throughout the US with Measha Bruggergosman. He further has been a guest at various festivals including Berliner Festwochen, Wiener Festwochen, Munich Opera Festival, Schleswig-Holstein Musik Festival, Teatro la Scala in Milan, Theater an der Wien, Schubertiade Schwarzenberg, Mostly Mozart Festival, Tanglewood Music Festival, and Justus Zeyen the Oregon Bach Festival. Since their first concerts at the Lockenhaus Chamber Music Festival in 1994 (Gidon Kremer, UMS Archives director), Mr. Zeyen has regularly collaborated with Thomas Quasthoff. They perform at the onight's concert marks both Michael Berlin Philharmonie, at London's Wigmore Hall, Schade andThomas Quasthoff's second at the Vienna Musikverein and Konzerthaus, Tappearances under UMS auspices. Mr. Concertgebouw Amsterdam, in Madrid, Barcelona, Schade made his UMS debut as tenor soloist with San Francisco, Boston, Los Angeles, and at New the San Francisco Symphony in February York's Carnegie Hall. 2002 in a concert performance of Mahler's Their recordings for Deutsche Grammophon Das Lied von der Erde under the baton of Michael have received many coveted awards such as Tilson Thomas at Hill Auditorium. Mr. the , Cannes Award, Preis der Quasthoff made his UMS debut with pianist Justus Deutschen Schallplattenkritik, and Grammy Award Zeyen, who also makes his nominations. return visit to UMS tonight, in a March 2000 recital In addition to concertizing, Justus Zeyen at Lydia Mendelssohn Theatre. teaches at the music academy in Hannover. Malcolm Martineau also makes his second visit to UMS tonight, following his UMS recital debut with Susan Graham in March 2003 at Lydia Mendelssohn Theatre. UMS welcomes Sylvia Schwartz and Bernarda Fink who make their UMS debuts tonight. umsLOBBYorg People are Talking

Share your experience of this performance and HAT hear what others are saying by visiting the UMS Lobby—an online gathering place for conversation about arts and culture.

Visit umsLOBBY.org YOU before or after any performance. Click on "People are Talking" to comment and to hear what others are saying.

Comment via WELCOME Twitter using the #umslobby hashtag TO THE UMS LOBBY... or @UMSnews. WHERE PEOPLE Visit the University ARE TALKING! Musical Society Facebook page and umsLOBBY.org leave your comments on the wall.